Post-Colonial Loves
Love is on stage as a possibility of profound transformation, so as not to perpetuate the worst in us.
— Sábado
Synopsis
Post-Colonial Loves initiates a new chapter of investigation by the company Hotel Europa extending the cycle of investigation of colonialism to the subject of love. This documentary theatre performance aims to reflect on love as a political and utopian space discussing what it meant to love in the colonial and postcolonial space. This work uses as methodology a cross between the archival research and the collection of actual testimonies. With this performance, we intend to portray the politics of love in the colonial space and to perceive how the violence of colonialism conditioned the amorous relations. We collected testimonies from former Portuguese soldiers who had children with African women in wartime, women of Portuguese origin who have fallen in love with black men belonging to the Liberation movements, and also the relations that have emerged from the relationship between African countries and the countries of East Europe. This work also interviews the children from those relationships trying to scrutinize what love was during the Colonial and Postcolonial period.
Creative Team
Creation – André Amálio and Tereza Havlíčková
Movement – Tereza Havlíčková
With – André Amálio, Laurinda Chiungue, Pedro Salvador, Júlio Mesquita (Ricardo Cruz), Romi Anauel (Selma Uamusse / Cheila Lima) and Tereza Havlíčková
Music Composition and Performed – Pedro Salvador and Romi Anauel
Set Design – Pedro Silva and Hugo Migata
Light Design and Technical Direction – Carlos Arroja
With Collaboration – Selma Uamusse and Toni Fortuna
Executive Producer – Joana Costa Santos
Production – Hotel Europa
Photos – Filipe Ferreira
Co-production – TNDMII
Residency – Materiais Diversos and DeVIR/CAPa
Support – DGArtes/MC
Acknowledgment – Bruno Huca, Sufaida Moyane, and all the people interviewed
That filter, that ability to look to the other with love, it’s what ‘Post-Colonial Loves’ proposes.
— Público
© Filipe Ferreira